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COPYRIGHT DEPOSIT. 



A Music Drama 



BOOK AND LYRICS BY FRANK PIXLEY 
MUSIC BY EDWARD F.SCHNEIDER 

Being the Thirteenth Grove Play 

of the Bohemian Club of 

San Francisco^ presented 

in the Bohemian Grove 

Sonoma County 

August y^^^h 

M C M X V 




San Francisco 
BOHEMIAN CLUB 

M CMXV 



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COPYRIGHT, I 9 I 5, BY THE BOHEMIAN CLUB 



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PRINTED BY TAYLOR & TAYLOR, SAN FRANCISCO 






AUG 16 1915 






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PREFACE 

^Z'd' author desires to make emphatic ac- 
knowledgment of indebtedness to his fellow 
Bohemians who in former years have made 
the grove plays a series of brilliant successes. 
"Apollo" /j- an attempt to combine the most 
salient features of several earlier produBions 
and to incorporate them in a new story with 
a slightly different dress and different develop- 
ment, <zAfew liberties have been taken with 
Roman and Grecian mythology to meet 
certain exigencies of the grove 
environment. 



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ARGUMENT 



Apollo, the son of Jupiter, was the god of the groves, 
waterfalls and flowers, the inventor of music, the instruc- 
tor of the muses, the most perfect type of masculinity and 
possessed the power of prophecy. The action of this play 
takes place in the sacred grove of Apollo at the base of 
Mount Olympus, the home of the gods. 

At the end of the prelude Pan is disclosed lying asleep 
on a mossy bank just before daylight. He has been dream- 
ing of his youth as an Arcadian shepherd boy before he 
mocked the gods, for which offense he was changed into a 
half-goat. He awakes with a cry of anguish as he realizes 
that his happiness has no real foundation and that he is 
still a misshapen monster. 

Presently he lapses into a philosophic mood and finds 
contentment in the thought that, though banished from 
human society, he has formed pleasant acquaintances with 
the buds, the bees, the birds, the butterflies and the fairy 
folk of the grove and has learned to charm them with the 
music of his pipes which he has fashioned from hollow 
reeds. He plays upon his pipes and, in response to the 
call. Elves and Gnomes and woodland Sprites come 
trooping about him and engage in a fairy dance and revel. 
At the height of the frolic a sentinel Owl gives warning 
of the approach of danger. The dancers hurriedly scurry 
away, and Maleficus, the spirit of evil, enters. He has 
plotted the overthrow of the gods and seeks to enlist the 
aid of Pan, who he believes will readily join him. In 
this, however, he is mistaken. Pan, after learning all the 
details of the plot, declines to join in it and ambles away. 

Maleficus decides to begin his warfare by an attack 
on Apollo, the god of the groves, and directs his atten- 
tion first to the sacred grove itself. With his wand of fire 
he frightens away the cool winds, withers the flowers, 
dries up the springs and scorches the roots of the trees. 

[ V ] 



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Mercury, the messenger of the gods, accidentally dis- 
covers the havoc that has been wrought and flies up to 
Olympus to inform Apollo. The latter hastens to the 
spot, discovers the damage that has been done and, not 
knowing the cause, calls forth the Dryads, spirits of the 
trees, and questions them. Then, to counteract the evil in- 
fluence of Maleficus, he summons the refreshing breezes, 
restores the springs and brings forth a waterfall upon 
the hillside. The Dryads, dancing with joy, reenter the 
trees and Apollo sings a song to the giant redwoods, 
promising them the continued protection of the gods and 
foretelling the future of the grove. 

Maleficus craves an audience with Apollo and tries 
to accomplish his downfall by exciting jealousy of the 
other gods. The temptation fails and Apollo drives the 
tempter from the grove and forbids him ever to return. 

Clytie, a vestal virgin, enters to perform her morning 
religious rites. She advances to a small altar and, in pan- 
tomime, goes through ceremonies in worship of the gods 
on Olympus. In the midst of her devotions she is dis- 
covered by Pan, who is struck by her rare beauty, and, 
forgetting momentarily that he is half beast, addresses 
her, whereupon she screams with fright and flees. This 
incident brings home to Pan the full realization of his 
awful plight, and in an impassioned song he supplicates 
the gods to restore his human form and runs up Mount 
Olympus as if to carry his appeal directly to the gods 
themselves. 

Maleficus stealthily returns and meets Bacchus, the 
god of wine, whom he induces, on a wager, to attempt the 
downfall of Apollo through drink. Bacchus and a Band 
OF Roisterers engage in an orgy of singing and dancing 
and carousing, whereupon Apollo seeks to put an end to 
this profanation of the sacred grove and, resisting all 
their efforts to induce him to join them, drives them away. 

Mercury flies down from Olympus with a message 
from Jupiter to Apollo ordering him on no account to 

[ vi ] 



leave the grove, as an important council of the gods is to 
be held there almost immediately. 

Pan reenters hurriedly, falls on his knees before Apollo 
and, ignoring the one wish uppermost in his thoughts, 
warns Apollo of the machinations of Maleficus. For 
this service Apollo restores his human form and asks 
Pan what he now intends to do first. He replies that 
he will go forth in search of love. Apollo does not under- 
stand the word and a duet follows in which its meaning 
is made clear. Pan runs away in search of a mate, leaving 
Apollo in wonderment over the strange lesson he has 
just learned. 

While he is still pondering over the subject Clytie re- 
enters to replenish the sacred fires upon the altar and 
Apollo, in observing her, notices that he is strangely stir- 
red by a feeling which he never has experienced before, 
but which Pan has described. He addresses her as one of 
the gods whom she worships and a love scene ensues dur- 
ing which flowers spring up on the hillside, the waterfall 
reappears. Elves, Gnomes and Fairies creep forth from 
their hiding places, birds sing merrily and the grove is 
filled with music — the whole typifying a maid's first con- 
ception of love. At its conclusion Clytie drops the censer 
and the lovers embrance while the fairy folk dance with 
joy. They hastily disappear as Maleficus runs on, picks 
up the censer and follows the lovers off unobserved by 
them. 

Jupiter, Mars, Neptune, Bacchus, Mammon and 
Mercury, accompanied by a large number of Atten- 
dants, march down from Olympus and a general council 
is held. Apollo's absence is noticed and Mercury is sent 
to find him. Maleficus declares that Apollo no longer 
obeys the commands of his king, but has been taken cap- 
tive by a mere silly girl. Jupiter is incredulous at first, 
but when the lovers appear becomes furiously angry and 
changes Clytie into a sunflower. Apollo attempts to inter- 
cede in her behalf, whereupon Jupiter declares it an act 

[ vii ] 



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of treason and invokes his winds and thunderbolts to 
punish the offense. A terrific storm ensues, during which 
Maleficus dances with joy and gloats over his triumph. 
The storm ends with a blinding flash of lightning and a 
crash of thunder, leaving the grove in darkness and silence. 

Pan invokes the aid of the Fireflies in restoring light. 
The altar fire still burns, and from it torches are kindled. 
Maleficus has been killed by Jupiter's thunderbolt, 
thus verifying a prophecy by Apollo. Pan appeals to 
Jupiter in behalf of the sunflower, whose only offense 
was love of Apollo, and the king deeply moved relents. 
Acknowledging that the gods, born of Ignorance and 
Superstition, have been vanquished by the hosts of prog- 
ress, truth and clear enlightenment, he sends them into 
oblivion henceforth to live only in myth and legend, and 
bids farewell to Olympus. Before he follows them he 
delivers his final decree as king of the gods — that 
Apollo, no longer a god, shall be reincarnated in human 
form and return to earth and mate with Clytie, who 
shall again become a vestal virgin; and that Apollo's 
god-like soul, as the sun, shall daily revisit the earth and 
bring to humankind light, life and love. 

As Jupiter departs the heights of Olympus are aglow 
with red light betokening the return of Apollo, the dawn- 
ing of the perfect day. The entire hillside is ablaze with 
colored lights as Apollo marches down to the sunflower, 
which suddenly is transformed into Clytie, and the lovers 
embrace, while the populace engage in a grand triumphal 
chorus of acclamation and rejoicing. 



[ viii ] 



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Cast o f C 



HARACTERS 



Jupiter, King of the gods . . . Marshall Darrach 
Apollo, God of the groves . . . Clarence Whitehill 

Mars, God of war Courtney Ford 

Neptune, God of the sea .... George L. Bell 
Bacchus, God of wine .... Henry A. Melvin 
Mammon, God of wealth . . Charles C. Trowbridge 
Mercury, Messenger of the gods . . Harold Baxter 
Maleficus, Spirit of evil . . Richard M. Hotaling 
Pan, a shepherd boy transformed into 

a half-goat George Hamlin 

Clytie, a vestal virgin Herbert Heron 

Naiad, Spirit of the waterfall . . George B. de Long 
Dryad, Spirit of the trees . Charles Templeton Crocker 

Elves, Sprites, Dryads, Attendants, &c. 

D R YA D S 

Frederick A. Denicke, H. P. Fessenden, Loring P. 
Rixford, E. T. Houghton. 

Elves and Sprites 

Virgi Breen, Guido Delbucchia, Lorenzo Delbucchia, 
Mosser Dougherty, George McDowell, Travers Murray, 
Francis Odell, Walton Odell, Jesse Olsen, Jr., Henry 
Olsen. 

Members of t he Chorus 

Harris C. Allen, A. A. Arbogast, R. M. Battison, H. 
K. Baxter, Harold Brayton, C. F. Bulotti, C. Bundschu, 
T. Burland, P. S. Carlton, E. D. Crandall, W. W. Davis, 
T. G. Elliott, C. E. Engvick, C. J. Evans, G. C. Farley, 
R. E. Fisher, J. D. Fletcher, H. E. Fossey, Oscar Frank, 

[ ix ] 



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W. E. Hague, J. D. Hartigan, R. B. Heath, A. G. 
Heunisch, W. H. Hooke, H. E. Johnson, E. E. Jones, 
L. A. Larsen, A. F. Lawton, E. C. Little, R. I. Lynas, 
E. H. McCandlish, J. McEwing, W. A. Mitchell, P. J. 
Mohr, W. P. Nielson, William Olney, H. L. Perry, 
G. Purlenky, G. D. Reynolds, E. W. Roland, Benjamin 
Romaine, J. D. Ruggles, A. W. Sperry, B. M. Stich, 
E. L. Taylor, C. F. Volker, Mark White, M. O. Williams, 
A. Y. Wood. E. Blanchard, Accompanist, 

Stage Director Frank L. Mathieu 

Master of Lighting and 

Illumination Edward J. Duffey 

-r, i Harry S. Fonda 

P'^'"'^'^"^^ j Harry p. Carlton 

Director of Aerial Flights . William H. Smith, Jr. 
Director of Dances .... George B. de Long 

Conductor Edward F. Schneider 

Chorus Master E. D. Crandall 

Concert Master John Josephs 

To commemorate the Play: Apollo, a statue by 
M. Earl Cummings 



[ X ] 



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A Music Drama 



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THE 



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^SCENE: The sacred grove of Apollo, at the 
base of Mount Olympus, the home of the gods. 
TIME : Just before daybreak. Stage half lighted 
at beginning of prelude, light gradually increasing 
during the music, C. DISCOVERED : Pan, lying 
asleep on a mossy bank. Centre. He moves uneasily 
at times during the prelude, and at its close jumps 
up with a cry and looks about as if dazed. 

Pan 

A dream! 'Twas but an empty, mocking dream! 
And yet, so beautiful it was, methinks 
It must be heaven-born! O, cruel fate 
That I must wake to contemplate the thing 
I am ! [Indicating his goat-like figure. Advances 

slightly down stage] 
It seemed the gods at last had learned 
What pity means ! My penalty was paid ; 
My expiation done ! This ugly form — 
Distort, misshaped, half man half beast — was gone ! 
Again I was a youth of perfect mold 
That gods might love ! Playing my shepherd's reed 
I led my flocks through fairest Arcady 
In rural peace, my happiness complete ! 
[Advances farther down stage] 

It was a dream ! But may it not be more ^ 
In this, Apollo's grove, the very air 
Is charged with prophecy! Perchance, forsooth. 
Some mystic power which guides the destinies 
Of things to come hath left an impress here 

[Indicating head] 

Upon my mind distraught ! May not some thread 

Of truth lie tangled in this flimsy web 

Of fantasy? [After slight pause] 

[ 3 ] 



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If penance pays for wrong, 
In thought or deed, no further debt I owe ! 
If penitence profound, too deep for words, 
May plead for mercy, e'en the gods on high 
Must hear my prayers and grant me clemency ! 
[His manner changes. In a lighter mood] 

Yet would I not complain ! I mocked the gods ; 
My punishment was just! I was a fool — 
But everyone, sometime, hath played that role ! 
The gods alone control ! Mere puny man 
Is but a puppet plaything in their hands 
And, knowing this too late, within this grove 
I've learned submission and I've won content ! 
[Brightly and almost joyously] 

Music is mine ! In yonder friendly marsh 

I found the reeds to fashion forth these pipes — 

[Indicating^ 

The pipes of Pan — whose magic melodies 
Can summom forth the spirits of this place ! 
I stole the laughter from the purling brook, 
The tatoo of the hail upon the leaves, 
The breeze's sigh, the carol of the thrush, 
The earth's glad cry which greets the first spring 



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And tuned them to the ring dove's mating call — 
That note of love to which the world responds ! 
Whene'er I breathe upon these luring pipes 
The frisking squirrel's noisy chatter stops ; 
The bees, the birds, the buds, the butterflies 
Come trooping forth in sweet companionship 
To give me joy in blest forgetfulness ! 

[Turns upstage^ as if invoking the fairy folk] 
[Recitative] 

Come now, ye blithesome woodland elves ! 
Ye fairy sprites, disport yourselves I 

[ 4 ] 



Upollo 



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%i^He plays upon his pipes and Gnomes and Elves 
one by one appear from the ferns^ bushes, flowers 
and trees upon the hillside. Without regularity of 
movement they scamper down, surround Pan, en- 
gage in a dance and revel. Part of the dancers re- 
main on second stage and others farther up, giving 
the appearance of life on the entire hillside. At the 
conclusion of the dance an Owl, off stage, hoots 
three times as a warning that danger threatens. Con- 
sternation seizes the dancers, who evidently are 
frightened. 

Pan [Recitative^ 
Hark! The sentinel owl gives warning! 
Danger threatens us ! Away ! 

^_^The Gnomes and Elves scamper into their hid- 
ing places and disappear. Pan assists in hurrying 
them away and then turns, half defiantly, to face 
the expected danger! The character of the music 
changes to the motif of evil. There is a puff of 
smoke and Maleficus, the spirit of evil, enters from 
Left. 

Maleficus [Addressing Pan] 
Greetings, my good friend Pan ! How is 't with thee *? 

Pan 
Call me not friend ! In truth, thou hast no friend ! 
I know thee now and, knowing, fear thee not! 

Maleficus [In a conciliatory tone] 
'Tis true thou knew me once. But I have changed 
And, as I wronged thee greatly, now I seek 
To pay the debt I owe thee, to the full, 
In humble reparation for my sin ! 

Pan 

That cannot be ! Within thy evil mind 

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Apollo 



There lies no thought of just or good intent ! 
Behold thy work! {^Indicating his figure^ 

Maleficus 

I'll grant I prompted thee 
To mock the gods, because I hated them. 
Could I foresee thy fate that followed fast? 

[Advances toward Pan] 

Our plans were right; but everything went wrong! 

For that I'm not to blame ! What follows, then ? 

Begin again ! We'll find some other course 

To overthrow the gods and lay them low! 

Join me once more, and thou shalt taste the sweets 

Of full revenge ! 

[Pan shakes his head negatively , and makes gesture 
of refusal^ 

Thou still art half a man; 
But, if thou art content with this, I swear 
I shall regret the change was not complete ! 

[Laughs mockingly^ 
Pan 

The aim of law is justice, not revenge ! 
Maleficus 

There speaks thy lower half, thou ambling goat! 
The cringing cur will turn to lick the hand 
That smites it ! But no manly man acts thus ! 
Servility is cowardice at best 
And both are bestial traits. Be brave, good Pan ! 

Pan [Sadly^ 
Had I not wandered from the path of right 
To follow thee, today I 'd be a man ! 

Maleficus [In a wheedling tone] 

'T is simple quite ! The gods themselves oft err. 
They make mistakes like us of common clay. 

[ 6 ] 



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Along the path that this Apollo treads 
I'll strew temptations thick and he will fall ! 
He shall be first, since him I chiefly hate ! 
Why should he rule this beauteous grove instead 
Of thee or me*? 

Pan 

Enough ! I'll hear no more ! 
I've paid the price of disobedience ; 
If thou art friendly tempt me not again ! 

[Exit, Right] 
Maleficus 
Poor, silly fool ! I'll bend him to my will 
And make him serve me like an abject slave I 
Forsooth I need no aid to end my work ! 
The greatest power that shapes the trend of life 
Or death, is Evil ! I am everywhere ! 
When once the gods are vanquished I will rule 
Alone ! Meanwhile I'm willing quite to match 
My cunning craftiness against their strength 
And bide my time until I shall have won ! 
When that hour comes I'll drive my frantic steeds, 
Havoc and Ruin, 'round the world itself 
And naught but chaos shall remain behind ! 

[Crosses, Left. Stops and looks about] 

But now to work ! Time presses ! I must haste ! 
This is the sacred grove — Apollo's own — 
And here will I begin ! These giant trees. 
Which have for centuries stood staunchly fast 
Against the elements, must be destroyed ! 
The wrath of tempests and the thunderbolts 
Of Jove they 've mocked to scorn ! I am supreme 
And they must fall ! I'll wither up their roots 
And sap their source of life ! The brooks, the springs 
Which nourish them shall be no more ! The deer 
Shall die of thirst ! No bird shall sing ! The air 
Itself shall be a scorching flame of death! 

[ 7 ] 



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%i^Pani07mme during which the orchestra plays van- 
ations of the motif of evil. With his wand of fire 
Maleficus dries up the springs and withers the 
flowers. Exit, Right, laughing sardonically. 

Music changes to the Mercury theme. Mercury 
enters upstage, second landing, and comes down dur- 
ing music, looking about the grove as if surprised. 

Mercury 

What strange malefic power infests this place *? 
The air is close ! It smells of death itself. 
The flowers droop ! The springs are dry ! The leaves 
Are withered, and it seems as if this grove 
Itself were doomed ! All nature sighs and gasps ! 
No flowery perfume fills the air ! The birds 
Have ceased to sing ! These glorious trees themselves 
No longer lift their haughty heads toward Heaven 
In proud supremacy ! The gods on high 
Olympus must be told of this forthwith ! 
Apollo, master of this sacred spot. 
Thy subjects here invoke thy potent aid I 

^^Flies upstage and off, crying as he goes, "Apollo ! 
Apollo !" Music during the flight. After exit music 
changes to Apollo theme — Apollo enters upstage, 
third landing, and comes down during music theme. 
Looks about in amazement, but walks with dignity 
and does not hasten. Stops to contemplate a withered 
flower. 

Apollo 

What's this ? 

{Notices another flower^ 
And this*? 

[Notices another] 

And this*? [Picks up flower] 

[ 8 ] 



Apollo 






Am I awake 
And do I see aright^ Now, by the gods 
Who rule Olympus, vengeance sure and dire 
Shall follow fast ! The thunderbolts of Jove 
Shall blast the author of this monstrous crime ! 

[To the flower^ which he holds in his hands tenderly^ 

Poor, stricken one, go now to Mother Earth 
That gave thee birth ! Anon thou shalt return 
To us again in royal raiment clad — 
The blush of beauty on thy velvet cheek ! 
Thy honeyed lips shall lure the vagrant bee. 
Thy fragrant breath shall woo the soft south breeze 
And waft a blessing to a grateful world ! 
God rest thee for a little while ! 

[Places flower in the earthy 

Sleep well ! 
There is no death ! [Advances down stage^ Centre, 

and addresses the great trees about him] 
Ye godlike giants, who do sanctify 
And dominate this place, on ye I call ! 
Appear, ye Dryads of Sequoia land ! 
'T is I, Apollo, who commands ! Stand forth ! 



Cl, Dryads appear from the larger trees. 

What wrong is here ? In what am I remiss *? 
Mine ear is open ! Speak ! 

[Dryads kneel appealing to Apollo] 

Kneel not to me ! 
'T is not thy master, but thy friend, who pleads ! 

[Dryads rise] 
First Dryad 
Oh, thou who hast dominion here, give heed 
To this our prayer ! Some potent, mystic force, 
Unknown to us, hath wrought our fearful plight. 

[ 9 ] 






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Apollo 



We thirst ! We sigh ! We gasp for life itself ! 
No cooling breeze now fans this favored spot ! 
The brooks and springs are dry. How can we live 
Since every artery is scorched*? The sap 
Of life no longer courses through our veins ! 
We pine and droop and fade I Give us relief ! 

Apollo 

[Turning upstage toward Mount Olympus^ 

Olympian Jove, 't is I, thy son, who calls ! 
Thy sweetest dews, thrice purified, I ask 
To end this drought ! Send us the cool west wind 
To chill the fires of hate that compass us ! 

[Saplings move vigorously as if shaken by a brisk 

breeze^ 

See now, how every leaflet stirs in glad 
Response ! The blessings which we have invoked 
Are ours ! And now behold ! This waterfall 
Shall give ye proof that e'en the gods on high 
Stand guard o'er ye ! 

%]^A waterfall appears on the hillside. The Dryads 
dance about with delight. 

Come forth, thou naiad queen ! 

Ci^ Naiad steps forward through the falling water. 
To the Naiad. 

Rare beauty is thy birthright, gracious one ! 

To thee 'tis given to please the ravished eye 

With flashing splendors in thy diamond drops ; 

To charm the ear with liquid melody. 

To cool the wandering breeze, baptize the buds. 

And bless the flowers with thy misty touch! 

But beauty, for a time, must needs give way 

To stern utility ! these giants tall — 

Grim sentinels which guard thy blest abode — 

[10] 



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Invoke thine aid ! Seek subterranean ways, 
Each path and avenue to reach their roots ! 
Bathe them in Nature's tears until once more 
They feel the thrill of life and health and strength ! 
This is thy urgent mission ! Go ! Make haste ! 

^L^AiAD vanishes through the falling water and 
the waterfall also disappears. The Dryads reenter 
the big trees, leaving Apollo alone on stage. He 
sings to the redwoods. 

[He sings'\ 

APOLLO'S SONG 
I 

Oh, redwoods, tall and stately, 

Beneath whose friendly shade 
For centuries and ages 

The tribes of man have strayed. 
We offer ye our homage 

With fervent loyalty 
And love and true devotion 

Anew we pledge to ye ! 

II 

Lift up your heads, Sequoias ! 

Toward Heaven point the way ! 
Teach man to worship Nature 

And scoffers how to pray ! 
The earliest kiss of sunrise. 

The sunset's last salute. 
Proclaim ye kings of woodland, 

Unequaled — absolute ! 

Ill 
And here in after ages. 

When gods have passed away 
The sons of men shall gather 

[11] 



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And each his part shall play ! 
Inspire them with your greatness 

And make them understand 
The path which leads to Eden 

Lies through Bohemia-land ! 



%i^Music changes to the motif of Evil and Malefi- 
cus enters from Right in a puff of smoke. He bows 
to Apollo with great deference. 

Apollo 

What baneful mission brings thee to this place ^ 
This is a hallowed spot. Go ! Get thee hence ! 

Maleficus 

One moment, pray ! Prove thou art truly great 
And let me speak! 

Apollo 

Be brief! What dost thou here*? 
Maleficus 
I fain would pay my compliments to thee ! 

Apollo 
I trust thee not, for truly well I know 
Thy lying tongue, thou monster of deceit ! 

Maleficus 

Be not so harsh ! I'll not deny I'm bad ; 
But surely thou hast naught to fear from me ! 
Though erring mortals oft I trick and cheat, 
Against the gods themselves my wiles are vain ! 
Be lenient with me ! Cherish thou no grudge ! 

Apollo 
Mere idle words ; but have thy say at once ! 

Maleficus 
Think it not strange that I, of ill repute 
Should worship thee! 'Tis but a tribute just 

[12] 



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Apollo 



That evil pays to good I With thee, in truth 

I sympathize, for justice is not ours ! 

'T is contrast that must gauge the meed of worth ! 

If all were good what credit would there lie 

In being good ^ Thy goodness would be nil 

Except for me and what I represent ! 

Each atom of this cosmic universe 

Some purpose serves ! I am thy dearest friend 

And yet I am by all the world despised ! 

To me that matters not ; I am content 

To be thy slave if I but aid to make 

Thee greater still! If justice were not blind 

Thou would 'st be heralded throughout the world 

Like Mars and Neptune ! Why should 'st thou be 

cramped 
Within the narrow confines of a grove*? 
The jealous hand of history records 
No deed of thine to set the world agog ! 
Thou art suppressed, o'ershadowed day by day, 
Whilst they, of lesser worth, win lasting fame ! 
Why should Olympian Jove, who orders all, 
'Gainst thee and me discriminate ^ Why not 
Demand thy rights, which justice should accord? 

Apollo 
Maleficus, thy motive is most clear ! 
Know thou that in mine inmost thought there lies 
No jealous spark of envy ! Thou hast failed ! 
Go now forever from my sight and ne'er 
Again invade the limits of my realm ! 

Maleficus [Angrily] 

One further word ! Thou wilt not treat with me ; 

The penalty be thine I Know, then, the truth I 

I hate thee ! Now an open war I'll wage 

'Gainst thee and thine ! Henceforth no quarter ask I 

Thy overthrow shall be complete, for I 

Shall win I 

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Apollo 



Apollo 
Begone forthwith ! Ere I invoke 
The thunderbolts of Jove to strike thee dead ! 

^LMaleficus hesitates a moment, regarding Apollo 
zuttk anger, then laughs sardonically and exits, Left. 
Apollo slowly follows him off, as if to make sure 
that evil has been driven from the grove. Enter, 
Right, Clytie, a vestal virgin, with cruet of oil, 
censer and incense. She advances to altar near large 
redwood and, in pantomime, goes through devotional 
ceremonies in worship of the gods on Mount Olym- 
pus, above. She pours oil upon the coals. Flames 
dance up and she puts incense on them, which causes 
smoke to rise. She swings the censer, kneels, rises 
and swings the censer again. In the midst of these 
devotions Pan enters upstage from Right and starts 
to cross Left, but at Centre notices Clytie, unseen 
by her, and stops as if astonished and enraptured by 
a beautiful vision. He soliloquizes during the de- 
votions. 

Pan 

What lovely vision greets mine eyes ! A maid 
Immaculate, unsullied by earth's touch ! 
She seems, indeed, an angel sent from heaven 
To bless the sight of man ! FU swear she's chaste 
As she is beautiful ! No sinful thought 
E'er finds lodgment there ! See how the flames 
Do dance with amorous joy at sight of her ! 
Within my breast a feeling stirs I thought 
Had long been dead ! She seemeth Heaven born 
And yet to me she kinship bears in that 
We both are human ! [After slight hesitation] 

I will speak to her ! 
[Steps forward, his arms extended appealingly] 
Oh, maiden, fair, let pity rule thy heart ! 

[H] 



apouol 



[Clytie starts, gazes at him with wonderment and 

fear, and, swinging the censer about her as if for 

protection from Pan, exits, Right] 

Pan [Advancing down stage. Centre, with gesture 
of despair after Clytie's exit] 

Oh, deepest woe I It needed only this 

To make my lonely wretchedness complete ! 

I've lost the world itself in losing love ! 

The sweet companionships which here I found 

With fairy folk are truly dear to me ; 

But love alone can satisfy the soul 

And fill the measure of life's brimming cup ! 

[He sings] 

THE SONG OF PAN 

I 

Oh, deepest woe I 

At last I know 
The full damnation of my fearful fate ! 

To mortal eyes 

This cursed guise 
Makes me appear a thing to shun and hate ! 

My grisly plight 

Appals the sight 
And fills with horror all who are not blind ! 

Would I had died. 

Since I'm denied 
The blest companionship of humankind ! 

Would I had died ! 

Would I had died ! 

II 

The fairy folks that here abide 

Are loyal friends of mine ! 
But, though they are instinct with life, 

They lack one spark divine, 

[»5] 



'Q-i 



>(^' 



)Q^^ 



»e^^ 



i^ 



Apollo 



They are not moved by passion's thrill! 

To them love is unknown ! 
Without a mate I'm doomed to live 

Companionless — alone I 

III 

Oh, fearful fate that makes me this ! 

What living death is mine! 
Give me but love ! I'll ask no more, 

Nor murmur, nor repine ! 
Apollo great, to thee I call ! 

Remove thy awful ban 
And thee I'll serve forever more ! 

Relent ! Make me a man ! 

d^/4^ conclusion of song Pan runs upstage as if 
appealing to the gods personally and exits toward 
Right. Enter Maleficus to the motif of eviU from 
Left. He glances apprehensively about as if fearing 
pursuit and stealthily crosses to Centre. 

Maleficus 

The fight is on ! Henceforth shall be no truce ! 
He knows me as I am! Now strategy 
Must win, for open war with him would fail ! 
My cunning traps I'll set with artful craft 
But he must not suspect the bait I use ! 
Temptation's power must lay him low ! He shall 
Defeat himself ! 

[The voice of Bacchus, off stage^ Right, is heard 

singing^ 
But lo ! who Cometh here ^ 
[Singing continues^ 

'Tis Bacchus! And in jovial mood he seems! 

Now, by my luck, here is an ally strong 

To help mine ends ! Him have I often sought 

[16] 



Apollo 



And he hath served me well ! No strangers we ! 
And yet he is as wax within my hands 
To mold and shape and fashion as I will ! 

d^ Bacchus enters from Right. He sings. 

Bacchus 
May all of your troubles 
Be lighter than bubbles ! 

Drink up and drive care away ! 
Here's death to all sorrow ! 
Who cares for tomorrow, 

So long as we're jolly today*? 
[He stops abruptly on seeing Maleficus] 
Maleficus 
Hail, Bacchus, and well met ! I pledge thy health ! 
[Raises his hand as if drinking a toast] 
Bacchus 
Such pledges stand for naught ! Drink thou but air *? 
There 's yet wine in the world ! Willst have a cup ? 

[About to pour wine from a goatskin hung over his 
shoulder. Maleficus hastens to decline] 

Maleficus 

Nay, nay, good Bacchus ! With a thousand thanks 
Perforce I must decline ! I need my wits ! 
Clear minds are not preserved in alcohol ! 
I am no weakling as thy minions are ! 

Bacchus 
How say'st thou"? "Weakling'?" 'Tis a sorry jest! 

Maleficus 
Not so — I speak the truth ! Consider well : 

[Argumentatively] 
If thou art truly great and powerful 
Why dost thou deal with underlings alone % 

[17] 



'Q-, 



'Q. 



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r^H 



Spallo 



'Tis easy quite to snare an addled brain 
And warp the judgment of a mind diseased. 
What credit comes from such a victory *? 
*Tis easy, too, to bend the weakened will 
Till resolution snaps and hope is dead ! 
Is that a proof of greatness or of strength^ 

Bacchus 
Ho, ho ! Reformer ! What hath changed thee so *? 
Am I to blame that all fools are not wise *? 
Good wine is helpful ! Oft it brings the flush 
Of health to wan and wasted cheeks ! It lights 
The eye and fans anew ambition's spark! 
Wine is a servant good ! 

Maleficus 
A master bad ! 

Bacchus 
Why preachest thou of good or bad to me ? 
Maleficus 

Because I love thee and would hold thee so ! 
I grant that thou art great ! Be greater still ! 
Forsake thy present course and, for a time 
Join battle with thine equals ! Test thyself ! 
Then, if thou needs must yield what hast thou lost *? 
But if thou win what name in all the world 
Shall rank with thine ^ 

Bacchus 
Thy sermon hath no text! 
What further proof is needed now to show 
My sway"? The rich, the poor, the powerful 
And e'en the wise pay tribute to my will ! 
Dost thou presume to question my estate *? 

Maleficus 

Ah no, good Bacchus ! Pray mistake me not ! 
Great power counts for naught when ill applied ! 

[18] 



Fe^^ 



^ 



^G*-' 



Apollo 






Thou art, against the weak, invincible ; 
True glory comes from conquering the strong ! 
Albeit a most useful end is served. 
Who crowns the cat that kills the timid mouse *? 
But if the cat a brave defense puts up 
Against attacking curs and drive them off, 
She wins renown and therein honor lies ! 
Ambition's voice should urge thee to aspire 
To greater heights ! Seek thou a worthy foe ! 

Bacchus [Swaggering] 

I challenge thee ! Be plain ! Proclaim the test. 

Maleficus 

That speech rings true ! A wager ! Shall it be *? 

Bacchus 
Set forth the terms, to which I must agree ! 

Maleficus 
Apollo, master of this grove, knows naught 
Of wine, carouse or revelry. 'Gainst him 
Direct thy shafts of cunning craftiness. 
If thou succeed in luring him to fall. 
With whirling brain, and maudlin, misty thoughts, 
And stammering tongue that hath forgot its use, 
I do engage, throughout the current year 
To serve thee as thy faithful, bounden slave ; 
But, if thou fail, then shalt thou for a year 
Obey all my commands ! What sayest thou *? 

Bacchus 
'T is done ! The wager stands ! I crave the chance 
To prove that Bacchus is indeed a king ! 
May kindly Fate spur on the laggard hour 
Which puts my strength and mettle to the test ! 

Maleficus 
Now, win or lose, each way I gain my wish ! 

[19] 






52. 



X^' 



t^i 



ffS^ 



ISlpoUa 



%i^Ckorus of male voices is heard off stage^ Rights 
singing a drinking song. As Bacchus and Malefi- 
cus shake hands to bind the wager they stop and 
listen intently, 

I'll send yon band of roisterers to thee 
To aid thee in the task which thou hast set. 

[Singing continues^ 

Thy quarry oft doth pass this way. Make no 

Mistake and let no single chance escape 

To bring him down I Play well thy siren role I 

[Laughs sardonically and exits. Right] 
Bacchus 
Presumptious fool to question thus my power ! 
It but remains for me to prove he's wrong I 

[Singing suddenly ceases, as if interrupted] 
I'll make my victory complete I The world 
Shall bow to me as master from this day ! 

ti^Enter Band of Roisterers from Right, laugh- 
ing boisterously. 

What ho, my lads ! Come, gather 'round me here ! 
Fill every cup ! Aye, bumpers I To the brim ! 

[Drinking horns are filled from the goatskin of 
Bacchus] 
Forget the past, excepting what you love 
And cherish best in memory ! A song ! 

Male Chorus [Sings] 

Ho, lads and lasses. 
Come, fill your glasses 

And let's be jolly, while yet we may ! 
Away with sighing 
For time is flying ! 

We die tomorrow ! Let's live today ! 

[20] 



>w 



l^i 



Apollo 



Fill every cup 

To the brim ! Fill up 

And pledge to every heart that's true ! 
So here's to pleasure 
In endless measure 

For all good fellows ! I drink to you ! 

A Bacchanalian revel with dancing follows and 
IS interrupted by the entrance of Apollo from Left. 

Apollo 
What means such uproar *? 'T is a grave offense ! 
Who leads the profanation of this place 
Wherein dwells gentle peace and quietude^ 
Make answer swift, ye yelping, howling hounds ! 

Bacchus 
My lord Apollo, hear me but a trice ! 
This glorious grove, so beautiful and fair, 
Hath stirred our souls to tuneful ecstasy ! 
We could but voice the joy which welled in us 
And cried for utterance ! Forgive us, pray, 
For this offense, which malice did not prompt! 

Apollo 
An overt act which reason doth not guide 

Hath no excuse ! _, 

Bacchus 

Yet gods, like men, may err ! 

Mine is the wrong, if wrong there be in this ! 

Let not displeasure fall on these my friends 

Who feel the glad exuberance of youth 

And give it tongue without intent of wrong ! 

They sing the praises of thy blest domain 

And fain would toast thy health in flowing wine. 

As proof of friendship wilt thou drink with us *? 

^Offers drink to Apollo. Maleficus appears up- 
stage on Rights and listens intently. 

[21] 



I'S'' 



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im 



Stpollo 



Apollo 

Bacchus, thou hast a mission well defined — 
To aid the ill, to nourish health and strength, 
To foster happiness ! The world needs thee ! 

[Maleficus laughs sardonically & dances with joy] 

No word I urge against the use of wine; 
It's misuse all condemn — there lies the wrong ! 
Though Liberty is sweet she hath one son 
Of wayward bent, young License, dissolute. 
Him shouldst thou check and curb! I'll drink no 
wine ! [Declines the drink] 

'T is dangerous at best and in its use 
Discretion wise should moderate desire ! 

Bacchus [Sarcastically] 

'T is cowardice alone withholds thy hand ! 
If thou art friendly and art not afraid 
Pledge with us in a single brimming cup ! 

[Again presents drink which Apollo declines] 

Apollo 

The cup I drink to health and happiness 

Is filled from Nature's living, crystal fount! 

[Indicating spring] 
Bacchus 
In water? Why, upon my soul it is 
A drink for rats ! Life laughs in sparkling wine ! 

First Roisterer [Slightly intoxicated] 
It were a shame to waste good wine on him ! 

[Laughs boisterously] 

Apollo 

The laugh of Folly dies upon the lips 
And leaves no echo in the heart or soul ! 
Corroding Care cannot be drowned in drink; 

[22] 



>(^* 



'Q. 



I'C^"' 



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Apollo 



Anon she reappears and brings with her 
Remorse and Wretchedness ! 

Bacchus [Sneeringly] 

Thou art a god, 
Then wherefore act the ass *? Thou slave of fear, 
If thou distrust thyself, renounce thy high 
Estate ! Recruit the craven, quav'ring ranks 
Of timorous dames and silly fools who think 
Each nightmare real ! 

Apollo 

A truce to parley vain ! 
Intemperance in speech avails thee not. 
It is a traitor to thy base designs ! 
Begone vile harpies, from this hallowed spot 
Before my patience breaks I 

[Roisterers, now silent, start toward Left in fear^ 
Bacchus following them] 

Bacchus [Left] 
One word, my lord — 

Apollo [Interrupting] 
That shalt thou truly have — one only ! Go ! 

CLBacchus and Roisterers exeunt. Left, laughing 
derisively. Maleficus tiptoes off. Right. Mercury 
flies down from Left. 

Behold, the winged messenger himself ! 
What business is afoot*? 

[Mercury alights] 

Mercury 
Most noble lord, 
I bring a message from imperious Jove ! 
His Gracious Majesty hath pleased to plan 
A visit to this grove within the hour, 

[23] 



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Apollo 



With various members of the royal court, 
For conference with thee upon affairs 
Of utmost moment to the throne I 

Apollo 
'Tis well! 
Inform his Majesty at once that I 
Attend upon his wish to meet him here ! 

[Mercury flies up and off. Left] 

Some weighty project must impend which calls 
For thoughtful care ! Grave premonitions now 
Disturb my mind ! Strange omens indicate 
Some great event is near ! This is, indeed, 
A most portentous hour I 

Pan [Off stage, Right, calls] 
My Lord! My Lord! 

Apollo 
Who calls? 



Pan enters from Right. 



Pan 

'T is I — thy humblest servant. Pan ! 
Give me but leave to speak ! 



Be unafraid ! 



Say on ! 



Apollo 



Pan 



My lord, thou art with dangers thick 
Beset on every hand ! Thine enemy, 
Maleficus, doth plot thine overthrow ! 
He e'en hath dared to seek mine aid in this 
Most fiendish scheme ! Prithee, be warned in time ! 
Ten thousand lives like mine Fd gladly give 
To save thee now ! He caused my fall and well 
I know his power ! My fate is worse than death ! 

[24] 



}Qi* 



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Apollo 



Apollo 
He tempted thee and thus thou didst rebel 
Against the gods. Thy punishment was mine. 
The power to punish hath an equal right 
To pardon, too I Thy lesson hast thou learned. 
Stand forth a man ! 

[Pan zs changed into a youth] 

Pan 

Now gods be praised ! And thou ! 
My thankful heart o'erflows with gratitude ! 

[Kneels to Apollo] 
Apollo 

Nay, rise, good Pan ! [Pan rises\ 

The pleasure in this act 
Is mine ! 'T is better far to render good 
Than punish wrong ! 

Pan 

Thou art a god, indeed ! 

Apollo 
Tell me, I pray, since now thou art a man, 
In what way lies thy course*? 

Pan 

Led by my heart 
I go to seek the one great priceless boon 
Which hath been me denied. I search for love ! 

Apollo 
For love % And what is love *? Gods know it not ! 

\They sing duet] 

OH, LOVE DIVINE 

Pan [Sings] 

Love is a wondrous, mystic power which blends 
Two souls in one ! It hath no end I It knows 

[35] 



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J^L 



No change ! 'T is constant as the sun ! Beyond 
All measurements of worth — more priceless far 
Than gold — this greatest boon of life divine 
Is blest a thousand fold ! 

Apollo [Sings] 
Whence cometh love*? 
And who hath love ? And where doth it abide ^ 
Is it a thing of earth alone *? Is it 
Creation wide *? 

Pan [Sings] 

Within the human heart 
It dwells and rules with magic sway the rich 
And poor, the high and low ; e'en kings themselves 
Obey! 

Apollo [Sings] 

What blest reward doth love bestow 
On them that it possess? 

Pan [Sings] 

It fills the heart 
And soul with peace, content and happiness ! 

Apollo and Pan [Sing] 

Oh, Love divine, 

Would thou wert mine! 
All else on earth I'd fain renounce 

For thee alone ! 

Thee I adore ! 

Come, I implore, 
And fill my heart and soul and life ! 

Claim thou thine own ! 

[At conclusion of duet Pan again attempts to kneel 

to Apollo, who interrupts him. Orchestra music 

continues through the succeeding scene] 

Apollo 
Waste not good time in proffering thy thanks 

[26] 



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W' 



Apollo 



^7« 



But seize the golden hour within thy grasp ! 
God speed thee well and give thee full success! 

[Pan runs off Right] 
What wonder-working charm is that which man 
Calls love *? It rules the heart and soul and lifts 
The lowly far above the things of earth 
To revel in content ineffable ! 
Yon shepherd lad, when he shall find his mate, 
Will be far greater than the gods themselves ! 
He'll know true happiness and taste the joys 
Of full possession of the heart's desires ! 
There's naught in high Olympus that can fill 
The rounded measure of perfected life ! 
In truth I envy him ! 

ti^Enter Clytie from Right. She goes through de- 
votional ceremonies at altar. Apollo regards her 
with apparent amazement. 

Am I awake*? 
What vision fair is this that feasts the eye 
And satisfies the soul*? See how she kneels 
In prayer and supplication to the gods ! 
'Twere fitter far the gods themselves should bow 
To such as she ! What grace ! What beauty rare ! 
What symmetry of form ! What loveliness 
Is hers ! At last my dormant heart begins 
To wake ! My soul cries out for sympathy ! 
My pulses throb and thrill ! I know not why ! 
[Advances slightly. Clytie notices him and starts 
with surprise and alarm. She is about to flee when 

Apollo hastily interposes] 
Let no fear chill thy breast, for all is well ! 
'T is I, Apollo, who would speak with thee ! 

[Advances again\ 
The gods on high have heard thy every prayer. 
Hear thou a god who fain would worship thee ! 

[ 27 ] 



^^-^ 



>^i 



l^l 



Apollo 



I am no mortal, as thou knowest well, 
Yet, as a mortal might, I humbly plead I 
Companionship I crave which love cements ! 

[After slight pause] 

This is my own domain ! I'm master here 
And everything within this grove hath life ; 
But life is empty if it know not love I 

CLApollo upstage. Centre, facing Clytie. The hill- 
side is at Apollo's back; Clytie faces it. Dryads 
appear from the larger trees. 

The spirits of these monarch trees with me 
Have close communion ! Well I know them all 
And dear I hold them, every one ! 

fX^On hillside. Rear, Gnomes, Elves and Sprites 
appear from ferns, bushes and hidden nooks. Panto- 
mime by Clytie. 

The gnomes 
And elves and fairy folk that here abide 
Are pleasant comrades, quick to do my will ! 

(L Brownies appear from the rocks. 
These rugged rocks are not insensate things 
CL Waterfall appears with Naiad. 

And every waterfall lives, laughs and leaps ! 

[Pantomime by Clytie. The Fairy Folk evince 
delight by throwing kisses to the lovers. The hill- 
side seems alive and in motion, though silent] 

The flowers which deck this mystic woodland glade 
Have lent their beauty to adorn thyself ! 
Whence comes the whiteness of thy virgin soul ? 
The lily is thy prototype ! And whence 

[28] 



ifapoUo 



The blush which glorifies thy mantled cheeks 
From queenly rose, herself no whit more fair ! 
Who taught thee modesty ? Earth's fairest flower, 
The violet ! Whence comes the priceless gold 
Which lies entangled in thy sun-kissed hair*? 
From buttercup and marigold ! And whence 
The azure hue reflected in thine eyes ? 
The larkspur and the bluebell gave thee that ! 

[After slight pause, rapturously^ 

Thou flower of flowers, ordained to rule as queen 
Within the garden of transcendent love, 
Shrink not ! Together let us face the sun 
That all the world may know that we are one ! 

CL ^^^ music swells to a passionate climax, Apollo 
holds out his arms appealmgly, Clytie raises her 
arms, drops the censer with a crash and they em- 
brace. The Fairy Folk dance joyously as the lovers 
slowly exeunt. Right. Suddenly the music changes 
to the motif of evil. Fairies disappear as Malefi- 
cus enters from Left. Crosses toward Right, laugh- 
ing sardonically, and picks up censer. He dances with 
glee and swings censer mockingly as he hurries off. 
Right. The music modulates into a strain of sad- 
ness, which suddenly changes into the Jupiter motif. 
Jupiter, Mars, Neptune, Mammon, Bacchus, 
Mercury and Attendants march down from Left. 
They form a group about Jupiter. 

Jupiter 
The hour is ripe for council ! Grave affairs 
Of state demand our deep and careful thought! 
The times have changed since first our rule began 
And with them we must change or own defeat ! 
Of Ignorance and Superstition born 
We wage a losing fight against the hosts 
Of Progress, Truth and clear Enlightenment ! 

[29] 



}Q*^ 



^ 






f^J 



japoiio 



ffOi 



Mere children who but know the rudiments 

Of science laugh the gods to scorn and use 

Us for their ends ! Mark how my thunderbolts 

Are rendered harmless by Invention's craft ! 

My lightning hath been taught to do the will 

Of man, to turn night into day, to drive 

The wheels of power and join with instant thought 

All peoples and all places of the world ! 

My winds themselves are now no longer free ! 

The husbandmen hath harnessed them, forsooth, 

To pump up water for the lowing kine 

And grind the golden grain ! Our days of proud 

Supremacy are drawing to their close. 

For progress is the very law of life ! 

Mars 

By thy permission I would lodge complaint 
Against that self-same cause. Are no more names 
To blazen forth and burn upon the page 
Of history ^ Must Mars now sheathe his sword *? 
When brute force ruled the world and might was 

right 
The conqueror who won his crown was hailed 
As one supremely great. The public eye 
Saw only him and all acclaimed the man ; 
But, in these latter days, when War cries out: 
"Behold the man !" Peace makes reply, "Regard 
The men !" and Reason echoes her appeal ! 
Nations, it's true, like men, at times, go mad 
And rage like beasts to glut their greed for blood; 
But madness is a curse to be abhorred 
And war no longer leads to glory or 
To fame. By all the gods, I am ashamed 
To stand as sponsor for this monstrous thing I 

Jupiter 
True wisdom, soon or late must win ! When man 
Grows fully wise grim war will be no more ! 

[30] 



>&'' 



^^! 



SipoUo 






And in that day no one will win more fame 
Than he who best hath served his fellow man ! 
Advancement marks thine end ! 

Neptune 

Your Majesty, 
The name of Neptune causes fear no more ! 
Invention's art hath robbed me of my work ! 
No longer men go down to sea in ships 
Whose frailties tempt the angry wind and wave ! 
No sudden storms surprise the fisher folk 
For science warns them of my every mood! 
My foaming chargers ride the billows' crests 
But find no victims in their onward course ! 
The glory that was mine is gone ! 

Jupiter 
Thou, too. 
Must share the fate that follows all of us ! 

Mammon 

Men call me great and worship at my shrine 
But Mammon's power grows weaker day by day ! 
No longer is my dominance complete. 
For Wisdom's voice doth ever cry aloud 
That money may be good but 'tis not best 
And they who seek the higher things of life 
Regard me with disdain and strive to win 
The things which money cannot buy or sell ! 

Jupiter 

Thy power is great; but 'tis not paramount 
For good or ill. And, in these latter days. 
True Wisdom is thy most relentless foe. 
For money madness marks the mind diseased ! 
The time will come when man shall cherish thee 
But for the good that thou canst do — a means 
To gain an end — not for thyself alone ! 

[31] 



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ff^i 



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Apollo 



Then wilt thou be no god and hence thy days 
Are numbered, too ! 

Bacchus 
Science and common sense 
Be damned ! My deepest curse upon them both ! 
They rob me of my dues and cheat my hopes ! 
The drunkard, just within my grasp, escapes 
Because, forsooth, some scientific fool 
Claims drunkenness is merely a disease 
Which medicine can cure ! Ah, what is worse, 
He proves it, too I And hence I am undone ! 

Jupiter 

Bacchus, thou wert a god ; but god thou art 
No more — a tempter only of the weak ! 
Thou hast o'erthrown thyself and Reason clear 
Henceforth shall fill the cup ! Thy sun hath set ! 

[Looks about the group] 

One well beloved face I miss ! Pray where 
Is fair Apollo, master of this grovel 

CMaleficus enters from Right. Jupiter addresses 
Mercury. 

Make search at once and bid him hasten here ! 

[Mercury flies off from Left to Right] 

Maleficus [Laughs sardonically as he comes for- 
ward] 
A fruitless quest ! Apollo will not come ! 
He's occupied with more important things ! 

Jupiter 

How say'st thou^ "Occupied"? Explain thy words! 
What keeps him from our side *? 

Maleficus [Gloatingly] 
A simple maid 
Who hath more power to sway him than thyself I 

[32] 



!#: 



Apollo 



Apollo treads no more Olympian paths ! 
He hath forgotten what a god should be 
And sighs and simpers like a lovesick swain 
Who first feels Cupid's dart I A silly wench 
Now holds him captive at her feet ! Poor fool ! 

Jupiter 

What's this*? Now, by our scepter and our crown, 
If thou but speak the truth, dire punishment 
Shall follow fast ! 'T is past belief ! Thy proof ! 

Maleficus 

Apollo is not here — what doth he now ^ 
Shall he play truant when great Jove commands 
His aid in council *? Thou art pushed aside ! 
Another hath supplanted thee as king — 
A skirted vixen who doth bid him come. 
Or go, or stay, or dance, as suits her whim ! 
Ha, ha ! Ho, ho ! All hail, great Womanhood I 

[Laughs mockingly^ 

Jupiter [Enraged^ 

Peace, slanderer ! The truth shall straightway show 
How vicious is thy lying, serpent tongue ! 

%[^Enter Apollo and Clytie from Right. They 
cross slowly toward Jupiter and are so absorbed 
in each other that they do not notice the gods who 
regard them with amazement. To Apollo. 

Stand where thou art ! [Apollo and Clytie stop] 

What means this rebel act^ 
If thou hast aught to say in thy defense 
Speak out ! Frame thy excuse well ! 

Apollo [Advancing a step beyond Clytie] 

Great Sire, 
I have no words to voice the grief I feel 

[33] 



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!3pollo 



If I have given offense ! I yield to none 
In loyalty to thee ! Thy will is mine ! 
Today I strayed along the path which leads 
To happiness and heaven on earth ! All else 
To me was naught ! I only knew I loved 
And was loved in return ! Swift-footed Time 
Outran my fixed intent to meet thee here ! 

Jupiter 
Thy explanation brings no just excuse! 
Hast thou forgotten that thou art a god *? 

Apollo 
Nay, sire ! Today I truly know I am, 
Indeed, a god, since love hath come to me ! 

Jupiter 
What baleful madness thus obsesses thee*? 
Hath Reason left her throne ^ No liege of ours 
Shall consort with a thing of common clay ! 

[To Clytie] 
Stand forth, thou witch! [Clytie advances to- 

ward Apollo and stands beside him] 
Indeed thou art most fair 
And therefore art thou dangerous ! Thy form 
I cast in beauty's mold ; but nevermore 
Shalt thou appeal to passion's weaknesses ! 
Since beauty is thy dow'r that shalt thou have 
To please the eye alone. Thou shalt become 
A flower! 

Apollo [Excitedly intervening] 
Nay, nay, my lord ! Say thou not so ! 
Spare her and let thy sentence fall on me ! 
Without her, life for me holds naught henceforth ! 
Give her to me and gladly I'll renounce 
My high estate itself ! I'll walk the earth 
A godlike mortal and will envy none 
On high Olympus ! 

[34] 



*&'' 



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Apollo 



Jupiter [Furiously] 

Treason now ! This calls 
For death ! Blow winds ! Unleash our thunderbolts ! 

%i^A terrific storm follows^ with high zvinds^ rain^ 
thunder and lightning — the stage is dark^ except- 
ing when flashes of lightning illuminate it. In the 
midst of the conimotion Maleficus is seen leaping 
about in jubilation and his voice is heard in loud 
laughter. When the storm ends all is silence and 
darkness for a moment. Then the voice of Pan is 
heard. 

Pan 

Let there be light! Ye Fireflies, lend your aid 
That order may be brought from chaos ! Quick ! 

CL Fireflies begin to dance over the dark hillside. 

Bring torches ! Torches ! Drive away the dark ! 
All is not lost ! Still burns our altar fire ! 

[Torches are hurriedly lighted at the altar and dis- 
tributed about the stage^ which becomes half-lighted^ 
so that figures are visible] 

Let's know the worst and see what Havoc wrought ! 
[He moves torch about as if examining ground] 

What fearful tragedy is here ! 

[Holds torch close to body on the ground] 

[To Jupiter] 

Mine eyes 
Refuse to view the awful sight! Thy son, 
Apollo, hast thou rashly slain ! Behold ! 

[Holds torch nearer and starts back with an ex- 
clamation.] 
Maleficus ! 

[ 35 ] 



»(^^ 



m 









>Qi^ 



Apollo 



[To Jupiter] 

Thy thunderbolt hath found 
A fitter mark ! 

[ To Attendants] 
What ho I Bear this away ! 

^l^The body is removed, Right. Where Clytie last 
was seen, stands a large sunflower to which Pan di- 
rects attention. To Jupiter. 

Hath pity now no place within thy breast *? 
Behold this martyr, sacrificed to love, 
The flower symbol of a virgin soul ! 

Jupiter [Deeply moved'] 

This is the end ! For us life holds no more I 
The gods have had their day ! Oblivion, hail ! 

[Addressing the other gods] 

Go now, henceforth to live alone in myth 
And legend I Lead the way ! Jove follows ye ! 

[The gods one by one salute Jupiter, extinguish 
their torches and exeunt] 

And now, ye proud Olympian heights, farewell ! 

Before we go record our last decree 

Which justice doth demand! Our dearest son, 

Apollo, is no more a god. He fell 

A sacrifice before the power of love; 

But, if in truth it be a crime to love, 

Know ye that Jove himself is guilty, too, 

For we loved him ! His noble soul shall live 

Forevermore, and, as the sun, each day 

Shall guide the world itself and give to man 

Light, life and love ! 

[Addressing sunflower] 

To thee who won his heart 
Apollo shall return reincarnate, 

[36] 



?»'' 



'G.c' 



»GJ* 



(LQ©!j 



^poUo 



And at that fateful hour thou shalt assume 
Thy human form again and mate with him! 

[Turns toward Olympus^ 

See how Olympus glows, e'en now, to greet 
The dawning of life's perfect day ! Rejoice, 
Ye sons of earth, rejoice ! Farewell, for aye ! 

%[^Extinguishes his torch and slowly exits^ Right. 
The mountain top is aglow with red light, indicat- 
ing the return of Phoebus Apollo. A strong ray of 
white light comes down the hillside as if searching 
for something. At last it finds the sunflower, which 
turns to face it. The grand illumination begins and 
Apollo, surrounded by Pan and earth beings, comes 
marching down to the stage, singing a grand tri- 
umphal hymn of rejoicing. The sunflower is changed 
into Clytie, and Apollo takes her in his arms. 



F 



I 



N A L E 



»G>= 



mi 






THE 



MUSIC 



Notes fr om the Score 



It has been the composer's aim to provide each person 
in the drama with a distinguishing motive characteristi- 
cally significant and appropriate, to be used allusively 
whenever the action demands. In addition to his endeavor 
to clothe the personages of the play in congenial robes of 
tone, the composer has also sought to render the orches- 
tral score more effective by the use of themes identifying 
the abstractions which work out their measure of weal 
and woe in the disposition of the characters and the epi- 
sodes of the plot. 

The prelude adjusted to an instrumentation of flutes, 
horns and harp, introduces the Love Motive. These arc 
the opening measures of the Prelude : 




Later the Love Motive will be heard in altered in- 
strumentation and at appropriate moments, when it is 
hoped that its tenderness will provide a musico-dramatic 
contrast with the Hate Motive. This latter is at once 
the musical statement of Hate as an abstraction and the 

[39] 



><ii^ 



»»'' 






I^pollo 



characteristic Motive of Maleficus, which it may in- 
terest musicians to analyze as to its harmonic structure : 




A Pastoral Motive is the germ from which a sprightly 
dance is evolved to accompany the arrival of Pan and 
his merry and grotesque companions. The auditor may be 
interested in a bit of musical realism opening this num- 
ber. Pan tries the theme in several tentative efforts to 
find the right key before breaking into the dance which 
ends his dolorous reflections on the misfortune of posses- 
sing a neutral physical nature. This is the Dance Theme : 



:|^ 



i 



mp 



^ ^^'_L r f f i -t^ r r r ii 



The sportive Gnomes and all of Pan's Merry Crew 
are interrupted in their festivities by the sudden shriek of 
an Owl and disappear to the skurrying swish of wierd or- 

[40] 



Iiapolla 



chestral effects. Then appears Maleficus to the brassy 
dissonance of the Hate Motive already illustrated. 

The plot development and the dramatic treatment ac- 
corded Apollo necessitate providing the Hero with two 
motives, the first is heard following the development of 
the Maleficus episode. As guardian of the grove and 
valorous enemy of evil blights, Apollo is first shown in 
dignified guises — noble and unimpassioned. The follow- 
ing is the composer's musical conception of Apollo's 
characteristics before Love comes to him: 



^ 



I , T V-J 



^ 



-1 •-+ 



\\ I - II 



From material introduced in the Prelude is developed 
the dainty Dryad Music which follows : 



i 



^ 



^ 



;t 



^^^F^^ie^ 



t^^ 



h \>£. 



^ 



In 



Apollo's Song is in the same mood and key as his 
Entrance Music and the entire song is intended to con- 
vey the first suggestion of the somewhat sombre and 
thoughtful nature of the Hero. This is the motive of the 
song : 



I 



±?^^=i^-hT- — ^^ 



£ 



Oh 



Red 



voods tall 



and state 



Pan's Song Number which follows is based on the 
opening measures of the Prelude, the propriety of which 
is justified by Pan's woe and his passionate resentment 

[41] 



^<^* 



i Apollo 



at a fate which forbids him again to know Love. It will 
be observed that the ground work of harmonic accom- 
paniment is built upon Maleficus' Hate Motive and 
the Love Motive. This is the opening of Pan's lamen- 
tations : 



I 



h=- ^ I J._^^~^r-F 



Oh 



deep 



i 




^^ 



^^ 



^ 



^ 



■p — H 



Bacchus is now heard "off stage." He is true to form 
and tradition. Bacchus in short is genially drunken. As 
he is usually pictured, so here he is a rollicking and jo- 
vial soul and as melodic as his condition will permit. 
This is the composer's introduction of Bacchus, and it 
should be noted that this theme will be heard in different 
harmonic environment when the chorus and the dance 
are added to Bacchus' Tipsy Tune: 

Song of Bacchue 



^« 



^=t 






And this is the following Ensemble Dance and 
Chorus utilizing the Bacchus Theme : 




W 



3^=3?: 



i 



=^=3? 



1 T J ^ 



1 ^ ; 



"1^ 



In the Duet sung by Apollo and Pan the effort has 
been made to maintain the characteristics of both : Apollo 



[42] 



» •vTjsr' "vrr^ T^'*' n»7T<' "^T^ T'TT"'^ o'^'T"^ 'T^ 



!3ipollo 



still appearing as the unimpassioned, and Pan as the 
vehement soul : 



i 



m 



^ — ^-J = 



r f tZT 



Love 



IS a woo 



droas mys 



tic power which blends 



^ 



r^j \^r^ 



Follows now the Love Motive as Apollo falls grad- 
ually under the awakening spell of romantic affection, 
and the pantomime which develops this episode is com- 
mented upon by the orchestral score woven of the various 
themes of conflict and consonance which have previously 
been heard. 

This is the Love Motive as heard at this juncture: 




Jupiter's entrance is announced in march form with 
the employment of the Jupiter Motive, the militant 
character of which is indicated thus : 



I 



^ 



^ 



^i=S^ 



M 



1 j I j: n 



J= 



i 



g^ 



i: :i 



i 



^ 



[43] 



;V''"1'1V»'"'*^1M 



^ = *«T<» nflrf4» O^T^ > < VTTyt > t >>TT<*' « «-T-vv' > ' / r> vr > ■^ fcTTW?- cyr 



)<^^ 



f^r 



SipoUo 



The stormy session which now ensues resorts appro- 
priately to Maleficus' Motive and opens in an un- 
usual manner by a three-note Tympani theme, the drums 
being tuned to B flat, F and E natural, which mixed 
tonality gives the composer's idea of the ominous episode 
which is about to be unfolded. Thus : 



As the dramatic issues of the plot now serve to present 
Apollo in the guise of an awakened soul and body, a 
new and triumphant suggestion musically is desired, em- 
bodying the thought of an Apollo awakened to the joys 
as well as the sorrows of Love, and rejoicing in his new- 
found nature. This, then, is the new Apollo. The theme 
serves the composer as the finale for his score; 



I 



4^ 



^ 



^ 



^ 



^ 



^ 



w 



J. p 



^ 



:^ 



Edward F. Schneider. 



[44] 



5i r^ rV 



THE ENCAMPMENT 

Some other Events 
Midsummer Encampment 

M c M X V 



?ai= 



•G*'^ 



Cremation of Care 

Saturday^ July Jist, ^9^5 
Persons in the Ceremony 



An Old Woman 
Spirit of the Grove 
Care 



Old Men 



A. F. Lawton 

Richard M. Hotaling 

Randall Borough 

Harold Brayton 

J. D. Hartigan 

A. G. Heunisch 

A. Y. Wood 

Music Rudolph Seiger 

Learning Horace H. Miller 

Youth Harris Allen 

High Priest Seth Mann 

Personnel of the Band 

Hancock Banning, E. H. Baxter, W. S. Beach, A. W. 
Best, F. L. Button, H. P. Carlton, C. P. Chamberlain, F. 
A. Corbusier, H. S. Craig, J. R. Davis, J. L. Eastland, 
E. C. Ford, C. E Green, W. B. Hopkins, A. Joullin, C. 
H. Lamberton, J. G. Melvin, Robert Melvin, W. Pidwell, 
T. Poindexter, G. Pomeroy, H. G. Ridgway, R. W. Simp- 
son, H. H. Sweesey. 

Paul Steindorff, Conductor. 



Illuminating Effects by Edward J. Duffey 



[47] 



><^^ 



>^ 



■^^^ 



W"" 








'I'he Low Jinks 


^ 

w 




Saturday, July jist 
Joseph S. Thompson, Sire 




*1k* 


Sergeant Exposition Guards . Ralph L. Phelps 

r Harold Brayton 


^ 




T^ r^ E. G. Burland 
Exposition Guards ....-{ 

J. D. Hartigan 


P^l 


M 


I H. E. Johnson 




^ 


Movie Camera Man .... William H. Crane 


?9^ 


^ 


President Bohemia Club . . . Frank P. Deering 


^ 


President Ancient Order Hibernians Gilbert Farley 


W 


^ 


Director Bohemian Club . . . Livingston Jenks 


^ 


^ 


Director Bohemian Club .... Gordon Hall 


^ 


Tt^-"^ 


Director Ancient Order Hibernians 


^ 


TP^ 


J. Brendan Brady 




^-t)* 


Director Ancient Order Hibernians 


?<^^ 


rll 


C. W. B.Cornelius 


^t 




Carpenters \ Robert I. Lynas 

( Benjamin M. Stich 


f^ 


m 


President P. P. I. E Walter Robinson 


'^ 


^ 


Foreman Placque Foundry 




^ 


Department George Sterling 


7^ 


*^ 


John the Junkman H. P. Fessenden 


*^ 


Carlo Bulott' da Fishaman . . . Charles Bulotti 


e^ 


The Attenuated Attorney and the 


w 


^ 


Consulting Counsel . . . . A. V. Thompson 


^ 


^ 


A Euphemism Richard M. Hotaling 


^ 


•sf'^ 


And Malcolm Arbuckle 






[48] 





5 (5XS> GAc^ GA c5 GAS OA 3) < 

^ t>ii^ 0^ii/0 <>li^ t>>XiAi <rvU^ t 



fe. j£l jeSl ^5^ 



Friday Night Camp-Fire 



Friday y August 6th 
Robert C. Newell, Sire 



Sunday Morning Concert 

Sunday y August 8th 
William J. McCoy, Conductor 

[49] 



•3ii 



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j^VQCVQ^i 



1 



LIBRARY OF CONGRESS 

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018 348 795 4 Wj 




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